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"The wound and the knife" is several things, or at least three: a documentary, a fiction and an essay. A documentary about the creative process of the last 5 years of the artist Emilio García Wehbi, a series of fictional scenes that dialogue with his work and a kind of essay on the body. In this sense, the staging is situated in the fragment, not only in the fragments of Wehbi's works, but also in the fragments of the bodies that make up those works. Thus, a little adrift and with a puzzle structure, in "The wound and the knife" I manifest a constant will to jump into the void, in this way the film denies itself as a closed work, but rather, what what it tries to be is a draft, the single notes that survived my own process.
A poetic essay on time and memory, a reflection on emptiness and death, a documentary about a peasant woman, fiction of that documentary, A Continent on Fire is a kind of matryoshka, a film that contains other films inside, infinite films that they try to give the same sensation that a stone falls into the water causes, something like a spiral rumbling in the thunderous silence of a forgotten town in the Patagonian mountain range.
In the 1960s, filmmaker François Thierry began work on a film about his friend, the writer and activist Jean Genet. Throughout the 1970s, the production documented a series of encounters in South America, spanning from Chile to Argentina. However, the film remained unfinished. Fast forward to the present day: Miguel Zeballos takes up the mantle, drawing from Thierry’s discarded footage and concept to embark on a new project. Amidst a wealth of materials, “Jean Genet Ahora” navigates through time with inventive and thought-provoking techniques to craft an energetic portrait of the moment, its creators, and the poet himself.
Carolina and Damian were made for each other, but they have different ideas about sex and love. Can they remain together?
Within the framework of an office, a typical presenter shows us -on the one hand- the dramatizations and "scientific" foundations while -on the other- the fantasies and actions of its protagonists escape the genre, revealing an absurd story of power and concealment.
On the banks of the city of Buenos Aires, among the rubble that forms the coast of her ecological reserve, she listens attentively to the confession. The rest, what follows, will be mere inconveniences and questions between a corpse and a double bass, between the imperfect city and its river, which will sow doubt about the resistance of its revenge.
Nadia spends a few days in Mar del Plata, where she meets Pablo and Marta, although she's the only one who sparks her interest. While sharing dinner at Marta's house, the atmosphere becomes tense and Pablo becomes violent. The two girls leave and find the warmth they were looking for.
Two friends walk together through the city and through their moods, ignoring everything that happens around them; the universe closes for each one in her lament, in her monologue of love. In this recurrence the reason for the pain is emptied and only the trace, the desolation, remains.
A string of threatening emails escalates into a revenge plot involving a newly married US marshal and his ex-girlfriend.